Play to Win

THE WINSLOW BOY

The REP, Birmingham, Thursday 22^nd January, 2018

 

Terence Rattigan’s masterpiece loses none of its powers in this new production directed by Rachel Kavanaugh.  What begins as a charming observation of Edwardian family life soon develops into a drama with far-reaching implications, as the entire nation follows the case of Ronnie Winslow and his struggle to clear his name following a wrongful accusation of the theft of a five-bob postal order.  Or rather, it’s his father’s struggle: only 14 when it all kicks off, Ronnie is able to get on with his life, secure in his father’s love and support.

As the titular Boy, Misha Butler is an instantly appealing presence, fresh-faced and oozing vulnerability.  As his father, Aden Gillett is old-school paternal: his word is law, but he’s also clearly very much a man who loves his family.  We witness Pa Winslow’s physical decline, his resolve wobble as much as his gammy leg, but his belief in his boy never falters, despite the hardship the expenses of pursuing the case inflict on the family. It’s a masterful performance at the heart of this piece.   Tessa Peake-Jones as Ma Winslow is old-school maternal, responding emotionally rather than rationally: it’s a family to which we’d like to belong – especially with chirpy maid Violet (Soo Drouet) fetching and carrying.  Drouet manages to bring more to this rather stock character.

Theo Bamber’s Dickie, the elder son, is a livewire, a voice of dissent and a nifty dancer!  But it is the sister, Catherine (Dorothea Myer-Bennett) who draws most of our attention.  A suffragiste, she is her father’s daughter, forthright and not shy of voicing her opinions, even willing to make sacrifices in her love-life for the cause of clearing Ronnie… Her intended is no great loss anyway; stuffed shirt John (a dapper William Belchambers) lacks the independence of spirit that makes Catherine stand out so markedly.

There is a magnificent turn from Timothy Watson as the superstar barrister hired to fight the case, Sir Robert Morton.  His cross-examination of Ronnie makes for an electrifying scene and his scenes with Catherine are delicious, as they skirt around a whiff of romance.

Kavanaugh directs with a light touch and the cast rattle through Rattigan’s somewhat wordy dialogue at speed, so the witty remarks and emotional exchanges fizz and spark.  It’s an unerringly entertaining piece.  The Winslows taking on the establishment is a David v Goliath campaign but the far-reaching implications I mentioned earlier have remarkable resonance with us today, a hundred years after the time in which the play is set.  Lines about the ‘desperatism of Whitehall’ encroaching on our freedoms could refer to the woeful Brexit negotiations, for example, and with ‘the despotism of bureaucracy’, Rattigan could be describing the Department of Work and Pensions!  And the figure of Catherine could represent the Time’s Up movement as women continue to fight for equality and respect.

More than a comedy (although it is very funny), this is social commentary that hooks us in with likeable characters, an intriguing situation, and bags of tension and suspense.  A flawless production and a real treat.

Aden Gillett looks on as Misha Butler is grilled by Timothy Watson

Lovely and Unlaboured

LOVE’S LABOUR’S LOST

RST, Stratford upon Avon, Wednesday 22^nd October, 2014

Simon Higlett’s gorgeous set has more than a touch of Downton Abbey about it – in fact this production is like watching the TV show but with proper drama. Shakespeare’s early rom-com is given an Edwardian treatment by director Christopher Luscombe, who does not stint on neither the rom nor the com. The comic business complements the script – unlike some productions where funny ideas are imposed on scenes – and the result is an absolute joy of a show.

Sam Alexander is the King of Navarre, recruiting his mates into a pact involving three years of abstinence and celibacy. Of course, any rules spelled out in a story are bound to be broken – remember Gremlins? – and so the comedy of the first half unfolds, with each member of the brotherhood breaking the rules and being discovered. Alexander is the cuddly Hugh Bonneville of the group and is more than ably supported by William Belchambers as Longaville, Tunji Kasim as Dumaine and Edward Bennett as proto-Benedick Berowne.   The eavesdropping scene is played out on the rooftop and is superbly handled by this quartet.

Most of the rom comes from Nigel Hess’s sumptuous score and some beautiful singing by Peter McGovern as the boy Moth.

More com comes from Chris McCalphy as dull constable Dull and a highly strung Costard (Nick Haverson). John Hodgkinson is very enjoyable as he mangles English pronunciation as the Spaniard Don Armado – I wonder why he has an accent but other visitors, like the French contingent, do not… That said, Jamie Newall’s rich and fruity tones as Boyet, equerry to the French princess, are a treat to the ear.

Leah Whittaker is striking as the fun-loving Princess of France – everyone looks wonderful in the period costumes – and Michelle Terry is likeable as proto-Beatrice Rosaline.

There is plenty of mucking around attired as Muscovites and the presentation of The Nine Worthies is just lovely.

But, just as the outbreak of the First World War interrupted lives and altered things forever, the arrival of bad news from France puts a spanner in the workings of the plot. We do not get the happy ending we expect – in a masterstroke, Shakespeare detonates a surprise and nothing is the same again. Christopher Luscombe handles it superbly. The final image, of the quartet of friends in uniform, marching away, is a salutary reminder of what we are commemorating this year.

Highly recommended.

Edward Bennett and Sam Alexander, with William Belchambers looking on.